Opiniões dos críticos

It takes only moments into the film, when star Timothée Chalamet first opens his mouth to sing, to discover Wonka’s two fatal errors: The songs are not good, and the guy singing them is even worse.

There’s much that delights in “Wonka” ...but it feels like a good effort rather than a masterpiece; a bit of tasty but slightly stale chocolate, you might say.

[The film is] an ingenious confection that piles flavor on top of flavor. Tasty though that can be, you miss the daring of Dahl in the more wanly whimsical “Wonka.” Still, the movie has two big things going for it: the charisma of its winning star, Timothée Chalamet, and the dazzling designs of its director, Paul King, the don of “Paddington.”

There was a weirdness, even a slightly sinister creepiness, to the characters played by Depp and Wilder that is wholly, utterly lacking in this cloying new version from filmmaker Paul King. Even King’s “Paddington” and “Paddington 2” have more edge.

“Wonka” is a sweet treat that never feels too saccharine. The delicious fantasy is a whale of a good time that brings fresh life to the lore of this iconic creation, taking nothing away but adding adventure, laughter, and its own heart and warmth to Dahl’s original vision. It is a delightful experience to embrace “Wonka” with the wide-eyed wonder it deserves.

Wonka is an effervescent pleasure – an endlessly, intricately charming treasure trove of a movie. And overall, Timothée Chalamet’s fresh-faced take on the central character – bringing a puckish innocence and spry, light-footed energy to one of the most famously jaded misanthropes in children’s literature – works rather well.

If [Wonka] isn’t quite the pitch perfect creation Paddington was – there are some thin sketches in the supporting cast and times when the plot mildly sags – it’s not far off, and it’s much better than it has any reason to be. This has the warm, cosy sense of a film that, even with its few flaws, could very easily become regarded as a festive classic.

Like any good chocolatier, King has obsessively focused on texture and flavour. And it’s those qualities – tuned to mass-market tastes, yet held in connoisseurish balance – that give his film its irresistible velvety sweetness.

Wonka is first of all a visual marvel in which the CGI is seamlessly blended with eye-popping practical effects that defy explanation. It might just be the most technically astounding capitalist origin story since Citizen Kane.

this pre-Wonka is an absolute Christmas treat; it’s spectacular, imaginative, sweet-natured and funny... I enjoyed this more than either of the two earlier filmed versions, with Gene Wilder in 1971 and Johnny Depp in 2005. It supplies the chocolate-endorphins.

[The film's] pervasive levity does mean that [Wonka] is the least akin to Dahl’s novels, but it’s also the most visually and emotionally harmonious, reimagining an iconic character and his off-kilter world with all the joie de vivre one associates with both youthful ambitions and the Hollywood musical.

Wonka is old-fashioned, cinematic magic writ large. It whips up wit, warmth, and the beloved memories of classics past: there’s a big dollop of Mary Poppins here, a little Matilda, some Oliver!, and, then, unexpectedly, a pinch of Les Misérables.